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COMIC THEATER

CODE 98537
ACADEMIC YEAR 2022/2023
CREDITS
  • 9 cfu during the 1st year of 9918 LETTERATURE MODERNE E SPETTACOLO (LM-14) - GENOVA
  • SCIENTIFIC DISCIPLINARY SECTOR L-ART/05
    LANGUAGE Italian
    TEACHING LOCATION
  • GENOVA
  • SEMESTER 2° Semester
    TEACHING MATERIALS AULAWEB

    OVERVIEW

    Laughing is good for health, which is a social good: one would say that Aristotle, with “catharsis”, also included this short circuit, this collapse of our ghosts which down the centuries has been for the polis matter of embarrassment and censorship much more than the heroic acceptance of destiny (tragedy); from mythology to the star system, from the Ancient Comedy to the stand-up comedy, the comic effect  manifests itself in theatre, even before as regression or wit, as an irresistible behavior of shared demystification.

    AIMS AND CONTENT

    LEARNING OUTCOMES

    The course, through a rich and articulated theory of exempla, aims to train students to appreciate the mechanisms of theatrical comedy, understood as a physical act and a relationship behavior, player presence and show project; empirical science that perhaps hides within itself the very secret of the historical and functional genesis of theater.

    AIMS AND LEARNING OUTCOMES

    In particular, the course aims to develop in the students some skills in relation to theatrical comedy: the ability to appreciate their intensity and quality; to distinguish between humor and comedy, word and action; to recognize in the comic effect the contribution of sharing among the spectators; to reconstruct the role of the dynamics of carnival lowering and/or reversal; to develop sensitivity to the function of rhythm.

    PREREQUISITES

    Elementary knowledge of theatre history.

    TEACHING METHODS

    Live lessons, with the aid of audiovisual material.

    SYLLABUS/CONTENT

    Looking at and commenting on the theatrical performances of great comic actors, we’ll talk about experiences (Petrolini, Govi, Totò, Grock, Moretti, Fo, Benigni, Proietti, others), techniques (physical and verbal comedy: entrées and stunts; grammelot and “bad words”; the mask), comic topoi (among all the descensus ad infera at the origins of the professional theater, from the fools to the Harlequin devil); but also about ideas (Baudelaire, Freud, Bergson, Pirandello, Bataille, Bachtin, Brecht) and a short history (from the Commedia dell'Arte to the proliferation in puppets, in the circus, in the cabaret, in the beginning cinema); with brief hints to the contribution of writing (the “comedy”: from Aristophanes to Michael Frayn).

    Monographic course 2022-23: "Dance macabre: laughing with death"

     

    RECOMMENDED READING/BIBLIOGRAPHY

    Mandatory texts for 6 CFU

    M. Bachtin, L’opera di Rabelais e la cultura popolare, Torino, Einaudi, 1979

    C. G. Jung, P. Radin, K. Kerenyi, Il briccone divino, Milano, Bompiani, 1979

    Mandatory texts for 9 CFU

    M. Bachtin, L’opera di Rabelais e la cultura popolare, Torino, Einaudi, 1979

    C. G. Jung, P. Radin, K. Kerenyi, Il briccone divino, Milano, Bompiani, 1979

    G. Celati, Dai giganti buffoni alla coscienza infelice; Il tema del doppio parodico; Su Beckett, l’interpolazione e il gag; tre saggi in Id., Finzioni occidentali. Fabulazione, comicità e scrittura, Torino, Einaudi, 1975, pp. 53-194 (o edd. segg.)

    Other recommended essays

    S. De Matteis, Il teatro delle varietà. Lo spettacolo popolare in Italia, Firenze, la Casa Usher, 2008 (o edd. segg.)

    E. Marinai, Il comico nel teatro delle origini, Pisa, Titivillus, 2003 (o edd. segg.)

    V. Pandolfi, Copioni da quattro soldi, Firenze, Landi [1958] (o edd. segg.)

    Other recommended pieces
    Aristofane, Le donne alle Tesmoforie; Plauto, Pseudolo; Adam de la Halle, Le jeu d’Adam; Ruzante, Betìa; Flaminio Scala, Il Teatro delle favole rappresentative (raccolta di canovacci); Carlo Gozzi, Re Cervo; Georges Feydeau, Maurice Desvallières, L'albergo del libero scambio (L’hôtel du libre échange); Tristan Rémy, Entrate clownesche (Entrées clownesques); Ettore Petrolini, Teatro; Eduardo De Filippo, Sik sik artefice magico; Samuel Beckett, Aspettando Godot; Dario Fo, Mistero buffo; Michael Frayn, Rumori fuori scena (Noises off)

    For non-attending students

    A text of your choice among the recommended is required.

    TEACHERS AND EXAM BOARD

    Exam Board

    ROBERTO CUPPONE (President)

    ANGELA ZINNO

    ESTER FUOCO (Substitute)

    ROBERTO TROVATO (Substitute)

    LESSONS

    LESSONS START

    Tuesday 14 February 2023

    Class schedule

    COMIC THEATER

    EXAMS

    EXAM DESCRIPTION

    Oral.

    ASSESSMENT METHODS

    The evaluation will be in equal parts (3/3) a) on learning the informative contents of the prescribed texts, b) on the ability to critically process their contents, and c) on the personal in-depth study.

    Exam schedule

    Date Time Location Type Notes
    14/12/2022 12:00 GENOVA Orale
    18/01/2023 12:00 GENOVA Orale
    08/02/2023 12:00 GENOVA Orale
    10/05/2023 12:00 GENOVA Orale
    24/05/2023 12:00 GENOVA Orale
    07/06/2023 12:00 GENOVA Orale
    21/06/2023 12:00 GENOVA Orale
    13/09/2023 12:00 GENOVA Orale

    FURTHER INFORMATION

    It is recommended to contact the teacher for bibliographic indications or materials related to the lessons; to solve any problems in the availability of texts; to agree on motivated changes to the program.